Michael Brecker

Watching virtuosity in action is a primary thrill for jazz fans, and for the past two decades Michael Brecker's bounding expertise on the saxophone has raised quite a few

eyebrows. Simply put, he is one of modern jazz's most sensational soloists.

Nowhere is that more evident than on Brecker's new Impulse! disc, Two Blocks from the Edge. A whirlwind of action, it boldly displays the saxophonist's prowess as an improviser. His work has never sounded so playful-or offered such a keen take on the intellectual side of soloing.

Part of this dauntless attitude comes from the authority of the Grammy-winning tenor player. His horn is in the service of a massive technique; there are few saxophonists who can physically do what Michael does. But much of the friskiness also stems from the accord generated by Brecker's band. Two Blocks from the Edge is a portrait of rapport, an illustration of the deep exchange that's possible when a team spends time aligning their strengths. Simple, cool, smart, it's the sound of pistons firing in synch. "This record is different," concurs the 49-year-old Brecker, "and that's largely because this is the first time I've made an album after playing the material live with my band."

Brecker's previous outing, the double-Grammy-winning Tales from the Hudson, was released in 1996. It was made with several high-vis pals, including Pat Metheny, Jack DeJohnette, Dave Holland and McCoy Tyner. They took to the road for a bit, but because they are all active leaders, time together was limited. Brecker then organized another crew - Joey Calderazzo, Jeff Watts, James Genus and Don Alias. For over a year, they developed a profound collaborative spirit. As time passed, they tackled the works-in-progress which have come to fruition on Two Blocks from the Edge.

"Joey, 'Tain, James, Don and I played the new music live, but only for a little while," continues the saxophonist. "I wanted us to know it but not be sick of it. Being familiar with a tune helps spark creativity, but being overfamiliar… well, you know. Keeping it fresh was important."

It's easy to tell that this is a special Brecker disc from the get-go. The first few bars of "Madame Toulouse," with Watts' gospel tambourine and Genus' slippery bass bouncing the leader in the air, create a feeling of frolic. Lots of open space, many paths to follow-nothing but options all around.

Many of the tracks were done in one take, evidence of their high degree of collaboration. "In jazz, the first takes are the best,the freshest and most open," says Brecker. "Many times in the past, after recording new music I found that the material would take on a new life on stage. I would find myself wishing I could go back and re-record the new version. This time we had the chance to fine-tune the material live first."

Another thing that Two Blocks from the Edge reminds us is just how powerful a horn player Brecker really is. His immense sense of melody and harmony sometimes diverts attention from the flat-out whomp of his approach.

"I'm not sure where the full-tilt tihng comes from in terms of my personality," he continues, "because I'm often told I'm fairly mild mannered. It's probably got something to do with the fact that John Coltrane was a tremendous influence, and I was attracted to the emotional intensity of his playing. The power of his quartet was one of the reasons I chose music as my life's endeavor."

A good example of Brecker's sheer power is the title track, named in honor of Brecker's close friend, the late Don Grolnick. It was Don who used to say that he liked living close to the edge-as long as it was two or three blocks away.

Most Michael Brecker fans know their hero's past. He grew up in Philadelphia, exposed to jazz early because his attorney dad was also a semi-professional pianist. He and his brother Randy-the highly acclaimed trumpet player-heard Duke Ellington and Miles Davis records during their childhood. At 11, Mike got a sax, by high school he realized music was one of his biggest interests; soon he and Randy were attending music camps and spending their days searching out all the jazz they could find.

In 1968 Brecker hit New York and participated with his brother in the fusion band Dreams. A few years later, he was on the bandstand with Horace Silver. The jazz-obsessed siblings spent most of the 1970s wowing crowds with the popular funk of the Brecker Brothers. Beginning the '80s with "Steps Ahead," it was obvious Brecker was one of jazz's brightest stars. Collaborations with Pat Metheny, Chick Corea, Joni Mitchell and Jaco Pastorius brought his talent to the attention of vast new audiences.

A string of discs for Impulse! in the late '80s through the mid '90s offered listeners a tour-de-force of Brecker's overwhelming talent, winning him 7 Grammys in the process. When not touring with his own group, Brecker appeared as a special guest with Paul Simon and reunited with his brother Randy for two more albums. The summer of '96 was spent working with McCoy Tyner, the summer of '97 with Herbie Hancock. This summer, Brecker will tour again with his own band.

Of the ensemble that created Two Blocks from the Edge, Brecker says, "I've been with Joey since '86. We have a chemistry. He's able to read me well, and we have a similar energy. Don's presence is great, too. He has the ability to shift the mood, drive the band with nuances. James Genus has a great sound; his bass is really limber. About 'Tain I can't say enough-he's one of the greatest drummers around right now. He has the ability to maintain a musical conversation while still swinging. He's constantly feeding ideas into the mix. Together they not only make a solid rhythm section, but one that likes to take chances."

With its hopped-up grooved, soaring ideas and relentless swing, Two Blocks from the Edge sounds like it's always reinventing itself. "This is my most natural record," Brecker says happily. "It really is."

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